Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Turkey and from Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1974.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Scott Walker to the punk kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Bang on a Can All-Stars. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Kerrie Biddell,
Fluxion,
Section 25,
Tommy Roe,
Ronnie Foster,
Radio Birdman,
Kauko Röyhkä ja Narttu,
Marcia Griffiths,
Sight & Sound,
Rhythm & Sound,
Mission of Burma,
Soul Sonic Force,
X-101,
London Community Gospel Choir,
Kings Of Tomorrow,
Mo-Dettes,
Traffic Nightmare,
Wings,
Yusef Lateef,
Rites of Spring,
Audionom,
Soft Machine,
Piero Umiliani,
Robert Wyatt,
Kurtis Blow,
Skarface,
Altered Images,
The Cramps,
Justin Hinds & The Dominoes,
Sonny Sharrock,
Royal Trux,
Model 500,
Röyhkä ja Rättö ja Lehtisalo,
Man Eating Sloth,
Prince Buster,
The Slackers,
Tomorrow,
Rahsaan Roland Kirk,
Cluster,
the Bar-Kays,
Public Image Ltd.,
Janne Schatter,
Television,
Avey Tare's Slasher Flicks,
Pantytec,
The Count Five,
Pharoah Sanders,
Darondo,
John Cale,
Warren Ellis,
Radiopuhelimet,
Bob Dylan,
The Black Dice,
The Selecter,
Frankie Knuckles,
Deakin,
Alice Coltrane,
Neil Young,
The Residents,
Todd Rundgren,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.